cheers Paul,
well, to keep ramping this up, run an auditory model simulation informing a
higher level musical model with both topdown and bottomup information
passing with appropriate neural connections to motor cortex simulations etc
So not only do we have to solve hard outstanding problems in computer
science but also in CASA/neuroscience. So they couldn't possibly say we
weren't coming up with unimplemented ideas...
But yes, your comments are nice, it's fun to match the audio output at
given moments to the most recent code that probably gave rise to it...each
significant new recompile could tag the next audio section and you'd have a
combined database of text and audio data. So in this quick hack way, with
some simpler DSP feature detection, might be doable as a prototype. Arm
wave our way through what gave rise to what and deeper meanings of
programs...
May as well include visuals in this too while we're at it...store
screenshots of text, camera eye view of venue etc..
Then let the agents scurry through the database working with and against
you for live coding esotericism of the like which audiences can be even
more confused by.
N
--On Friday, May 20, 2005 12:50 am -0700 paul webb
<paulwebb_at_rocketmail.com> wrote:
> interesting idea
> just some thoughts about this
>
> I guess with this like the EMI the code is serving (in
> one perspective) to define musical patterns/structures
> there might exists comman code signatures that are
> often coding in order to bring about these authors
> musical signature..
>
> Is it the case that you tend to repeat previous code
> (a coding style), perhaps with variation, in order to
> create musical changes (musical style)
>
> Perhaps by tying in analysis of the musical structure
> as it unfolds in time to how you change your code, the
> agent can base its idea of how you are going to code
> by how you intend the music to go. So it will need a
> theory of your musical changes and theories of your
> musical structures before it can get a theory insight
> into your code that brings about this music. EMI does
> not generate theories of composition, only theories of
> music, perhaps live coding offer a way to combine both
> a theory of music and some kind of theory of
> composition (coding) - even though it cannot look a
> want goes inside your mind. By if coding is the
> expression of your musical thoughts perhaps it does!
>
> So it examine a body database of previous recording of
> your livecoded music and database of how the code got
> formed and changed to bring about this music.
>
>
>
>
>
>
>
>
>
>
>
>
>
> --- Ge Wang <gewang_at_CS.Princeton.EDU> wrote:
>>
>> On May 19, 2005, at 4:21 AM, Nick Collins wrote:
>> > programming style analysis- artificial agents look
>> at a corpus of your
>> > coding style and try to predict the things you
>> will do,
>>
>> Linear Predictive Coding!!! Ho ho ho.
>>
>> This is fairly insane. I like it.
>>
>>
>
> .........................................................................
> ........... http://www.fexia.com
> http://www.robotsoftware.co.uk
> http://www.nicetoanimals.org
> http://www.sindi-entes.org - artificial musician project
> ...........with http://www.isbellmusica.com
>
> http://www.fexia.com/livecode.html - liveCodeDSP audio/midi (in progress)
> .........................................................................
> ............
>
>
>
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Received on Fri May 20 2005 - 09:59:41 BST